Andr-Tech uk666 Posted August 27, 2020 Andr-Tech Share #1 Posted August 27, 2020 The Un-Written Laws of Media Editing What is an editor? You probably know it. It starts with "An editor is the person who takes a badly framed series of wrong direction, poorly acted shots....." and after more in the same vein ends "....and turns it into a masterly statement of the writer's original intentions, for which the director takes the credit." As an Editor, as soon as you get a project, look at all the footage. Separate all the good shots out into a special bin and then close that bin. Now cut your piece. When the producer comes in and says "Do you have better shot for here?" you can then whip open the "Good Shots" bin and then start putting them in. Anatomy of an Editor Whilst cleaning out old junk I came across a list of expressions and tips passed onto me from the editors I have known and the places I have worked in the in the late eighties. I am sure there are many who can add to this valuable database! - Randall. The Un-Written Laws of Editing: Never start work first thing in a morning. Editors much prefer a terrific rush in the late afternoon. Please smoke in the editing suite. It assists concentration. Do not arrive with a clear concise plan of what you have shot or indeed what the finished item is about. t does spoil the element of surprise for the editor. Please dash into editing, utter a few incomprehensible thoughts on how you think the item should be cut and then dash off somewhere secret where you cannot be found. This establishes your squatters’ rights over the editing suite. On your return to the editing suite start making telephone calls to your bookmaker, accountant, wife, girlfriend, mistress, live-in lover, boyfriend, sugar daddy, etc. Arrange for them to call you back as this all adds to your ability to concentrate on the job. Make sure you tell the editor a title for your item, which is different to the one down in the running order for the program. If you must arrive with the cassettes in boxes make sure that nothing is written on the label that could possibly identify the content. Assist the editor by tweaking all their knobs on the equipment. Turning up the volume on the monitors is very beneficial to everybody in the vicinity. Arrange for the producer to telephone every 30 seconds to enquire whether the item is finished. Even better if the producer can be convinced you are in another editing suite than the one you one really occupying. If there is a need to extend or shorten the item, always insist that this is done by redoing the voice-over in the middle of the item. After demanding that an edit he redone, always insist that you prefer the original version. Be utterly convinced beyond all doubt that your item is the only one in the program. Nothing else matters. Remember the golden rule: "The later your item is, the better it will appear to the viewers." Never consider the possibility that editors have a private life. They really do live on the premises. Once you have finally vacated the editing suite, albeit very reluctantly, wait until its next client has started his piece and then surprise them all by dashing back into the suite and ask if you can check super times etc. T.V. Time Chart What they Say: What they mean: “a bees ***” 1~2 frames “a whisker” 2~4 frames “a smidge” 4~6 frames “a tad” 6~10 frames “a bit” 10~15 frames “we’ll be ready to record at 0900” Record at 0930 “I’ll just be 2 secs” 5~10 mins “I’ll be a couple of minutes” 10~20 mins “I won’t be long” 15~30 mins “It will take about five minutes” ½ ~ 1 hour “I’ve just got one shot to put down” Anything up to 3~4 hours Now you know how media editor’s behaviour and work are same all over the world. 1 Link to comment
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